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馬拉加街夕陽紅
卡門·毛拉,瑪爾塔·埃圖拉,艾哈邁德·布拉內(nèi),瑪利亞·阿爾方薩·羅索,米格爾·加爾塞斯,拉·伊門79歲的西班牙女子瑪麗亞·安赫萊斯獨自生活在摩洛哥的丹吉爾，享受著自己的日常生活。然而，當(dāng)她女兒從馬德里趕來，想要賣掉她一直居住的公寓時，她的生活徹底被打亂了。決心留下來的她，竭盡所能想要奪回自己的家與財物，卻意外重拾了愛情與感官的愉悅。
呼嘯山莊2026
瑪格特·羅比,雅各布·艾洛蒂,周洪,艾莉森·奧利弗,沙扎德·拉蒂夫,馬丁·克魯勒斯,伊萬·米切爾,艾米·摩根,杰西卡·奈佩特,夏洛特·梅林頓,歐文·庫珀,薇·阮, 米莉·肯特,薇琪·佩珀代因,保羅·瑞斯,Robert Cawsey,加布里埃爾·比塞特 - 史密斯,Louie Benjamin Potts,Treyston Braine,Jaydon Eastman改編自英國著名作家艾米莉·勃朗特同名經(jīng)典作品，英格蘭北部的荒原之上，一場跨越階級的禁忌之戀正在上演。莊園之主的女兒凱茜（瑪格特·羅比 飾）與被收養(yǎng)的孤兒希斯克利夫（雅各布·艾洛蒂 飾）青梅竹馬，靈魂契合彼此深陷。愛意悄然滋長之時，現(xiàn)實的殘酷和命運的捉弄卻將二人分開。多年以后，他攜風(fēng)暴回來，純潔的愛火逐漸從浪漫演變?yōu)榘V狂，譜寫了一曲關(guān)于欲望、愛與瘋狂的史詩篇章。
發(fā)財秘笈
李美鳳,鄭文雅,楊寶玲,黃百鳴,黃秋生黃尚（黃百鳴 飾）是一個其貌不揚的小小上班族，來到了車水馬龍人頭攢動的香港，心里滿懷希望的他決定要在此干出一番大事業(yè)。在香港，黃尚結(jié)識了三位各具風(fēng)情的美女——個性溫柔賢良淑德的亞萍（楊寶玲 飾）、風(fēng)情萬種熱情奔放的露露（李美鳳 飾）和高貴冷艷霸氣外露的珍妮（鄭文雅 飾） ，每一個人都讓黃尚心動不已。 一次偶然中，黃尚撿到了一本《發(fā)財秘笈》，半信半疑的他按照書中所寫待人處事，果然沒過多久便升官發(fā)財。發(fā)達之后的黃尚先是得到了露露的芳心，之后又利用手段逼迫珍妮同自己結(jié)婚，一番折騰之后，一場超現(xiàn)實的奇遇卻讓黃尚開始思考，這樣的生活真的是自己想要的嗎？
解決專家
黃才倫,邱意濃,林子聰,許詩晨,王瀚邦,王人可,文東俊,岳冬峰,劉奕心,阿蒂婭,劉海涵,解斯童“解決專家”衣然英俊遇到羅師傅上門求助，羅師傅因跌打油遭誣告，其妹雙雙、盈盈為幫兄私自參加高顏獎金選美。衣然英俊攜老孫、羅師傅追至賽場，與羅妹及中國選手徐菲組隊，闖叢林、破廟宇機關(guān)，最終揭穿比賽的陰謀，助羅師傅渡過難關(guān)。
精武陳真：租界風(fēng)云
陳國坤,呂艷蓓,王宏哲,馬群雄,張姝陽,孫盈藝,張永華,阿諾1911年，陳真為師父霍元甲報仇后投身革命加入中國同盟會，受托調(diào)查軍閥與日本在天津租界的勾結(jié)。在執(zhí)行任務(wù)遭伏擊、同伴中毒的險境中，陳真與一度為敵的武人鄭邵遠從對決到聯(lián)手，最終陳真在租界內(nèi)與日諜頭目決一死戰(zhàn)，揭穿陰謀，公之于眾。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.